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A man and a woman sitting at a dining table, dressed comfortably. The man looks content, resting his elbow on the table, having fallen asleep while reading a newspaper, whereas the woman seems lost, her expression melancholy as she smokes a cigarette.

This image makes me think of loneliness. Through my eyes, the woman looks sad and lonely. The room they are sitting in is quite empty, the walls bare, along with the table.

The lack of color makes the sense of loneliness in the image feel stronger, almost consuming. It makes the situation displayed in the image feel raw, despite the unrealistic coloration. The single, overhead light in the image illuminates the couple, making everything else dark and meaningless. It adds depth to the image.

The woman in the image seems to be deep in thought, looking almost disappointed as she looks down at her glass which is half-empty. The man looks to be asleep, seemingly oblivious to the woman’s troubles.

Through my eyes, the photographer was trying to communicate the sorrow and loneliness of the woman in the image.

This image can be interpreted as a work of art, or a piece of journalism, but I doubt that it could be used as an advertisement. It carries a certain weight that is not usually seen in advertisements. The message that it conveys is different for every individual that perceives it, based on their own experiences and thoughts.

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To what extent has meaning been expressed in the images and excerpts you have encountered so far? 

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To what extent has meaning been expressed in the images and excerpts you have encountered so far? 

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Images, whether photographs or paintings, express meaning visually, with various physical elements, objects and coloration. Whereas stories and excerpts use tone and style, creating atmosphere and evoking emotion through symbolism and metaphors. So far, I have encountered and analyzed one image and one excerpt. The image, from Carrie Mae Weems’ “Kitchen Table Series” - “Untitled (Man Reading Newspaper)”, is a simple, black and white image of a man and a woman sitting at a dining table. The man seems to have fallen asleep at the table, newspaper in hand, while the woman stares longingly into the shadow of the room, created by the single overhead light above them. The image creates a sense of sorrow and disconnect, rich with layered meaning.

Through my eyes, it expresses meaning in a physical way, through the body language of the individuals and the set design in the photograph, using symbols like the newspaper. The newspaper in the man’s hands signifies his connection to the outside world, politics, current events, while the woman has nothing, only a cigarette, displaying how the woman is only viewed within the domestic space. The way that his attention is fully on the newspaper instead of her gives me the idea that there is some kind of disengagement or distance within their relationship. Though, this is only my opinion. This photograph, like many of Carrie Mae Weems’ works, is open to interpretation, allowing the viewer to form their own thoughts and opinions according to their own experiences and feelings when perceiving the image.

In the story “Faces” by Aimee Bender, meaning is expressed in a very different way. In literary texts, meaning is expressed through tone and style; the author’s choice of words and perspective shapes the interpretation of the reader greatly. In the excerpt that I analyzed, a boy, William, is taken to the doctor by his mother because she is concerned about his struggle to recognize his friends. The doctor examines William but is unable to come up with a clear solution or diagnosis, only sharing a look with his mother. William is confused and scared; the situation makes him frustrated. He feels judged by his mother and the doctor, seemingly in denial that there is something wrong with him. William has an uncommon disorder called prosopagnosia and this scene highlights how rare and isolating his situation is. It’s difficult for him to fully grasp the gravity of his disorder, especially since he’s just a young boy. The adults in this scene feel helpless, unsure of how to help him since there is no cure for his disorder. I think that this deepens the sense of isolation that William feels, knowing that he can never be normal; that he lacks a crucial characteristic that everyone else has. His situation represents a lack of connection and comfort in the world, almost like a loss of identity.

The expression of meaning in works of art and literary texts is vastly different, yet with the same intent: to provoke thought and individual interpretation. They share some characteristics like symbolism and imagery, but overall, literature uses words and perspectives while art and photography use visual composition.

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https://www.canva.com/design/DAGzIVVQYZI/b-T3VHrbKIua5z5regZogA/edit?utm_content=DAGzIVVQYZI&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton

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Pizza Hut Gorbachev TV Spot Commercial :60 International version

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Dear mom,

I am deeply grateful for everything you have done for me. All the late-night talks, where you stayed up and listened to me complain about school, all the last-minute supply runs because I’d forget about school supplies that I needed for the next day.

Dad says you spoil me too much, and I honestly agree. You do so many things for me because you don’t want me to worry, you just want me to focus on school. You work so hard to make everything easier for us, and you never complain. You’re a real soldier, mom, and I’m so grateful and thankful for you.

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How does the writer structure this article to present an argument?

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How does the writer structure this article to present an argument?

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Lisa Zunshine’s article “Culture of Greedy Mind Readers” comes from her book “Strange Concepts and the Stories They Make Possible”, which was published in 2008 and is one of her more popular works. It is an interestingly structured article in which she blends theory, examples and cultural analysis. In the first paragraph, she begins by introducing the main idea: how humans are constantly attributing desires and intentions to others. She states that “we communicate by misreading each other’s minds,” and “we have no choice but to act upon our half-baked intuitions about other people’s thoughts.” She explains that what cognitive scientists refer to as our evolved cognitive adaptation for understanding observable behavior as caused by underlying mental states is misleading, using examples from everyday interactions and cultural texts. She demonstrates how literature encourages and amplifies our cognitive adaptation by comparing everyday life “mind-reading” with the amplified versions in media, expressing how culture expands cognitive capacities.

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1.       Shakespeare achieves this through the complexity of Hamlet’s language. Instead of giving us clear answers or rational conclusions, Shakespeare shows us the internal conflict and thought process of Hamlet in his soliloquy, using metaphors and questions.

2.       The rotting garden imagery creates a sense of decay and hopelessness, displaying Hamlet’s view of the world around him based off his internal feelings.

3.       Yes, it could be expressed in simpler writing styles and words, but it would take away from the depth and memorability of his words. Poetic language adds a certain intensity that is hard to convey in any other way.

4.       This elevation can make the feelings a little distant, maybe too stylized for the average person to comprehend.

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How might the structure push us to more free pursuits that move beyond the structures?

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How might the structure push us to more free pursuits that move beyond the structures?

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The poem “Terzenelle: Manzanar Riot” by Claire Kageyama-Ramakrishan, is a perfect example of structure containing and limiting freedom. A terzenelle is a poetic form combining a villanelle and a terza rima, built on repetition. Certain lines are repeated in a specific pattern, linking stanzas together.

In this poem lines repeat, creating an entrapped rhythm. The repetition symbolizes a looping trauma, resembling the confinement of the Japanese American people in the relocation camp.

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The style or structure of a text is crucial when determining it’s meaning because it helps readers perceive it and the emotion it portrays. Structure plays a big role in how emotion or situation is presented. Rhyme and rhythm emphasize key ideas or emotions in the text, while a messier structure or style can reflect multiple perspectives. The style and the language used in the text shape the atmosphere. Poetic language may convey emotion at a deeper and more intense level, whereas more conversational or narrative language may convey the same emotion and intensity, but in a more relatable sense.

In the poem “10 things I hate about you” by Karen McCullah and Kirsten Smith, which was inspired by Shakespeare’s “Sonnet 141”, structure and style perfectly portray the writer’s shift in emotion throughout their writing process. The poem is written like a list, each stanza beginning with the same repetitive structure, which seems angry and harsh at first, but as the poem goes on, the structure starts to break emotionally. The line “But mostly, I hate the way I don’t hate you” breaks the pattern, revealing the author’s true feelings beneath their masked anger. Simple, conversational language makes the poem feel honest and sincere. It’s not overly complicated or distant, making it feel relatable and more touching.

This poem and it’s drastic shift from sarcasm and bitterness into tenderness and love captures exactly how style and structure affect meaning, guiding the reader through the writer’s emotions.

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Francis Adirubasamy is a crucial character in the story of Piscine Molitor Patel. He is the character who, in the beginning of the story, tells Yann Martel "I have a story that will make you believe in God." With this quote, he sets the central point of the book. Can a story make you believe? If it wasn't for Mamaji's faith in Pi's story and experience, Yann Martel wouldn't have met Pi or heard his extraordinary story.

It is through Mamaji that Pi gains his love for swimming, which becomes a vital skill later on when he is stranded at sea. Adirubasamy taught Pi to swim from a very young age, at the Piscine Molitor in Paris, a pool which he loved so dearly, it inspired his name.

In the story, Mamaji represents wisdom and mentorship. His love for swimming also symbolizes freedom, endurance and calm, qualities that Pi later embodies.

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The writer uses language strategically to challenge modern attitudes toward productivity and success by exposing how “busyness” is culturally constructed as a marker of value and then subtly dismantling that assumption. From the opening, the casual repetition of the word “Busy” mirrors everyday conversation, creating a sense of familiarity that draws the reader in. However, by isolating the word in short, fragmented sentences “Not tired. Not content. Not even stressed, just busy.”, the writer empties it of emotional substance, suggesting that busyness is a hollow response rather than a meaningful state. This stylistic choice encourages readers to question why such an empty descriptor has gained prestige.

Throughout the text, metaphor and evaluative language are used to reframe productivity as a social performance rather than an inherent good. Describing busyness as a “badge of honor” implies that productivity functions symbolically, signaling worth to others. This challenges modern success narratives by suggesting that being busy is less about purpose and more about appearance. Similarly, the accumulation of concrete images “calendars packed with meetings,” “phones buzzing,” “emails answered at midnight” creates a sense of suffocation. The density of these images mirrors the overcrowding of modern life, reinforcing the idea that constant activity is overwhelming rather than fulfilling.

The writer further challenges dominant attitudes through ironic contrasts and diction associated with optimization. Verbs such as “optimize” and “track” are typically linked to efficiency and progress, but here they are applied to leisure, exposing how even rest is subordinated to productivity. This linguistic shift implies that modern success has colonized all aspects of life, leaving no space free from measurement. By stating that “stillness… must justify itself,” the writer personifies rest as something on trial, emphasizing how unnatural slowness has become in contemporary values.

Finally, the writer’s shift in tone toward the conclusion plays a crucial role in meaning-making. The reflective, almost philosophical language (“an uncomfortable truth,” “what actually fulfills us”) contrasts sharply with the earlier energetic pace, embodying the very slowing down the writer advocates. By framing intentional rest as “radical,” the writer subverts expectations, challenging readers to reconsider deeply ingrained beliefs about productivity and success. Overall, the writer’s language does not merely describe modern attitudes but actively destabilizes them, guiding the reader to question whether constant busyness truly signifies a successful life.

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For that “Natural” look men go for… Seventeen

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For that “Natural” look men go for… Seventeen

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This print advert is an advertisement for Seventeen Cosmetics, produced by Jeurelle Inc. It combines illustrative artwork, slogans, product images, and pricing details in a typical full page format. It appeared in Cosmopolitan magazine in March 1947, a top-selling magazine for young women. Jeurelle is a cosmetics company that sold their make up line in the 1930s and 1940s. Their brand name and image may have beem chosen to evoke youthful appeal around the same time teen culture was emerging.  It’s main purpose was to persuade women to purchase Seventeen brand cosmetics.

This ad is from March 1947, in the post World War 2 period in the United States. The economy was blooming again, wartime rationing had ended, and consumer goods were gaining popularity again. Traditional gender roles and domesticity were popular as soldiers returned home. Youth/teen culture were beginning to emerge with emphasis on “young moderns” and dating. Makeup advertisements stressed appeal to men and women’s beauty was tied to attracting male attention. The enthusiastic, persuasive language with a light, romantic tone is very characteristic for cosmetic advertisements at this time. Catchy, rhythmic slogans like “catch the eye and win the heart,” and “sweet-enough-to-treats” sell the flirty image that the brand promotes.

The interplay between the image, layout, and language works collaboratively to persuade young women to buy the products by promising effortless, romantic appeal through the supposed “natural” look that men prefer. The large, colorful illustration dominates the ad, a smiling, young, blonde woman, the personified beauty standard in the 1940s, sips a milkshake through a straw while gazing flirtatiously at an admiring man beside her. The scene evokes a feeling of innocence, youth, and romance – a relatable fantasy for any girl in their early to late 20s at that time.

The layout of the advert follows a classic Cosmopolitan magazine layout. A large, attention catching slogan that overlays a colorful illustration, linking the romantic scene directly to the brand. Then, an explanatory body with statistics, illustrations, and prices to persuade the audience to purchase these products. This layout guides the eye from the romantic and desirable drawing to the statistics and claims, to the products and where to purchase. It avoids clutter, using white space and warm tones to feel inviting and not overwhelming.

Together, all of these factors sell not just powder and lipstick, but a fantasy. An idealized identity of a “young modern” who is effortlessly youthful and attractive, romantically successful and appealing to men.

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1. The two texts largely reinforce each other, though they present Ardern from different perspectives. The first portrays her as a confident political leader who emphasizes the importance of women being included in decision-making, focusing on her authority and public role. In contrast, the second offers a more personal depiction, showing her not only as a leader but also as a mother and partner, rejecting the expectation that women in power must be viewed as “superwomen.”

2. Both texts present authority as inclusive and grounded in responsibility rather than dominance. Ardern’s leadership is defined not only by her position but also by her values, such as equality, compassion, and social responsibility. She uses her influence to address issues like gender inequality, poverty, housing, and child welfare. At the same time, the texts challenge traditional ideas of power, which are often associated with masculinity and emotional detachment. Ardern’s approach suggests that leadership can also involve empathy, collaboration, and emotional awareness. The second text especially emphasizes that leaders do not need to be flawless or extraordinary to be effective.

3. New Zealand is depicted as a progressive and democratic society, particularly in its openness to diverse forms of leadership. Ardern’s rise to power at a young age, along with her experience of motherhood while in office, reflects a willingness to embrace change and challenge traditional norms.

However, the articles also present the country as imperfect. Issues such as poverty, housing, and gender inequality indicate that, despite its progressive image, New Zealand continues to face significant social and political challenges.